Under The Cherry Moon score & cues refers to the score composed for various scenes in Under The Cherry Moon that are not songs of their own. They are individual copyright pieces of music however, composed by Prince in one case with help of Eric Leeds and on others with Clare Fischer orchestral arrangements. Some are existing compositions, both titles from the Parade album and otherwise unreleased songs under different titles.

Chris On His Way Home is the music under the scene where Christopher arrives home from buying flowers, talks to himself in the mirror and finds Tricky fooling around with their landlady Katy. For unknown reasons John L. Nelson has a co-writing credit on this orchestral part, but Clare Fischer, who seems to have had a hand in the orchestral part, does not.

Poem To Mrs. Wellington is the music under the scene where Christopher says his I'm nothing without your touch my love, I'm nothing without your kiss. 2 spend each night in your arms my flower, is man's idea of bliss. 2 not hear your voice each day is to die seven times my God's wrath. If I was anything other than human I want to be the water in your bath poem to Mrs. Wellington while taking a bath. A variant of the 'water in your bath' line was also used in Girl.

Champagne is assumed to be the music we hear at Mary's party. Among others there is a scene with a young girl stealing a sip of champagne from the glass of an old man who dozed off. It is in fact a version of Do U Lie? with the Clare Fischer orchestra arrangement added and likely copyrighted as such because the version of the song as released on Parade does not have the Clare Fischer orchestra. Oddly Fischer does not seem to be acknowledged for his co-writing /arranging credit on this orchestral part.

Mary On Drums – Planet Rock is the music under the scene where Mary play a bit on drums, chanting 'Planet rock, you just can't stop'. The bassline heard underneath is very similar to that of New Position.

Mia Boca is the music under the scene where Mary emerges from the house to mingle with her guests, get a set of tarot-cards from Mrs. Wellington and later tosses them with Christopher catching them. This is in fact the beat and Clare Fischer orchestrated music of the Jill Jones's Mia Bocca but before it was released as such. The track is mentioned as one of the songs in the film during the end credits. The title (with one C) misspells Boca, which is the Spanish word for mouth, while 'Mia' is Italian (Spanish would be 'mi'). The title was changed to correct Italian when Jill Jones released her version on her eponymous 1987 Album.

Jonathan On The Phone is the music under the scene where Mary is on the phone with her fiance, who is overseas for business and Christopher is interfering, starting at around 22 minutes in. Clare Fischer has a co-writing credit on this orchestral part. It is in fact Fischer's arrangement originally composed for I Wonder U.

A Little Possessive is the music under the scene where Christopher and Mrs. Wellington arrive at her home and hear Isaac Sharon record a message on the answering machine. Christopher sits at the piano and plays a bit of Do U Lie?. The music here is accoladed with the (otherwise unused) Clare Fischer arrangement for the song Do U Lie?.

Including People is the music under the scene where Christopher gets it on with Mrs. Wellington, following the Isaac leaving a message on the answering machine bit. When Christopher says "He's a little possessive, don't you think?" she answers: "he likes to collect things, including people."

Christopher And Couples is a bit in the film, possibly the first part of the scene where we see Christopher in a restaurant playing a piano version of Alexa De Paris while the camera pans around the restaurant while we see people conversing, eating and fighting. The next scene has a seeming continuation of the same piano rendition of Alexa De Paris, but was registered as Mary And Tricky Dance

Mary And Tricky Dance is the music under the scene where Mary dances with Tricky after refusing to dance with Christopher. The music is a seeming continuation of Christopher And Couples with the same solo piano version of Alexa De Paris. In the film it is followed by 2:12 of (an edited) studio version of Alexa De Paris, while Christopher and Mary dance and talk.

Chris Drunk And The Rolls is the music under the scene where Christopher arrives at the house of Mrs. Wellington to find out he's been set up to walk in on her and Isaac Sharon. It is in fact a synth (french horn patch) solo rendition of Do U Lie?.

Chris And Tricky Discuss Mary is the music under the scene where, as the title suggests, Christoper and Tricky discuss Mary and how they think she doesn't know what she wants. This is in fact an alternate instrumental version of the unreleased It's A Wonderful Day and it's heard from 36:21 to 36:50. Another bit of the same piece was used later in the scene after cutting away to a scene with Mary and Isaac. The later bit is confusingly registered under a different title: Butterscotch

Butterscotch is the music under the scene where Christopher compares his and Tricky's skin tones as butterscotch and chocolate explaining why they couldn't be brothers. This is in fact an alternate instrumental version of the unreleased It's A Wonderful Day. Another bit of the same piece was used earlier in the scene before cutting away to a scene with Mary and Isaac. The earlier bit is confusingly registered under a different title: Chris And Tricky Discuss Mary

Chris And Tricky In Square is the classical restaurant music under the scene at the Pavillon restaurant where Chris and Tricky are trying to bring Mary down to their world, including the infamous 'Wrecka Stow' bit. It's cut up in three parts, but in fact all the same song. The last part heard in the film (where the room is cleared to create space do dance) is in fact the intro.

Phone Booth is the music under the scene where Christopher and Mary make out in a phone booth after Christopher called Isaac Sharon at Mrs. Wellington's house. It is in fact Venus De Milo with the Clare Fischer orchestra arrangement not used on the album

Isaac Gets Screamed On is assumed to be the short variation on the melody of [Under the Cherry Moon]] heard after Mary fights with her dad who tells her "Mary you have no right" after which she replies "Now that's nerve" and storms away slamming the door shut.

Chris And Tricky Argue is the music under the scene where Christopher comes home after seeing Mary having stood up Tricky whom he told earlier to meet him 'at the club in two hours.' Tricky is upset and vocal about it towards Christopher. Clare Fischer has a co-writing credit on this orchestral part. It is in fact Fischer's arrangement originally composed for Old Friends 4 Sale.

The Break-up is the music under the scene where Tricky sits drunk with Katy complaining about Christopher and then confronts Christopher and Mary and tells her everything stated as a plan to get to her fortune. The song uses snatches from the melody of Under The Cherry Moon. The bassline and the beat are somewhat reminiscent of the intro to I Could Never Take The Place Of Your Man as performed on the Sign O' The Times Tour.

Check At Mrs. Wellington's is the music under the scene where Christopher goes to Mrs. Wellington's house and she gives him as check on behalf of Isaac not to see Mary again. Clare Fischer has a co-writing credit on this orchestral part.

Mr. Sharon Arrives At Airport is the music under the scene where Isaac Sharon arrives at the airport, too late as Christopher just took Mary away in his car. It has saxophone, bongos, guitar and piano and also includes a variation of the Under The Cherry Moon melody.

Police Have Found The Car is the music under the scene where Isaac gets a phone call from the police informing him that they found Christopher's car. The music is saxophone and synth. It seems likely Eric Leeds had part in writing, where he is credited for Tricky Escapes / Mary In Grotto which is unlikely to have his contribution.

Tricky Escapes / Mary In Grotto is the music under the scene where Mary wakes up in the Grotto, finds Christopher gone and reads his 'An Honest man' poem. While the poem has the lyrics to An Honest Man the music is that of Venus De Milo.

Eric Leeds is registered as a co-writing for this piece. This is seemingly in error. His credit was most likely supposed to be for Police Have Found The Car, an original composition which has sax in it. The title could also have been registered Mary In Grotto / Tricky Escapes to follow the storyline.

Best Man is the music under the scene where Christopher and Tricky make up, and Tricky says: "Let's put it this way: if we ever make it to that wedding, I'll be your best man." Since this bit is orchestral (and doesn't seem to be an arrangement to a known song), Clare Fischer should likely have a credit on this as it was likely composed and arranged by him.

Tragedy / Isaacs Reaction is the music under the Christopher's death scene and a direct continuation of the scene that uses music titled Best Man in the scene before. While he is not credited for this, it seems likely that Clare Fischer should have been as this orchestral music was likely composed and arranged by him.

Cue: A short saxophone part is played under the scene where Christopher and Tricky beg for Katy's kindness (before playfully threaten her with the Bela Lugosi look).

Cue: A harp like chord sound and appears when Christopher and Tricky discuss Mary while Christopher takes a bath at the exact moment Tricky shows Christopher a newspaper with Mary's picture.

Cue: A synth chord after used when Chris submerges in the tub and the scene cuts to the Mediterranean sea and the Sharon Villa. The exact same cue is used for when Isaac's men are spying (with binoculars from a balcony) on Christopher and Tricky in the town square and again a little while after when the two of them have lunch and talk in a what later appears to be a bat-infested restaurant.

Cue: A short synth-flute exclamation after Christopher says: "Billy Eckstine he 'ain't baby", after hearing Jonathan sing 'Happy Birthday To You' over the phone.

Cue: Ominous synth-tones when an older lady client asks Christopher when they can meet again, making Christopher question his past decisions.